Lepic, account

Ludovic-Napoléon Lepic (1839-1889)

Account

of his exhibited works

 

 

Introduction:
On this page you will find an account of what works Lépic did exhibit at the 1st and 2nd ‘impressionist’  exposition and at the Salon. For general information on Ludovic Lepic and the used sources, see the main page. For the pictures -/- see and -/- see.

 

The first ‘impressionist’ exposition 1874:

  • catalogue numbers 74-80
  • in total Ludovic-Napoléon Lepic exhibited 7 works, 4x watercolours and 3x etchings;
    • 3x indication of place
    • 0x indication of time, season or weather
    • 1x a study
    • 0x loans (appartient à…); .
  • See for the suggestions of Adhémar (R87,p240), Moffett (R2,p121) and Berson (R90II,p8+23)

Reviews:
Burty (1874/04/25) ‘The more moderate and no less valiant works of Messrs. Colin, Rouart, Boudin, Lépine, Ottin fils or de Nittis, the watercolours of Mr. Lepic, show how much is to be expected from this school. (R87,p262)
Lepelletier (1874/04/19) mentions the ‘marines’ made by M. Napoléon Lepic (R90I,p24).
Léon de Lora (1874/04/18) mentions the ‘marines’ made by M. Napoléon Lepic (R90I,p27).

Catalogue 1874: (R87,p240;R2,p121;R90I,p6;iR1)

1IE-1874-74, L’Arrivée de la marée à Cayeux, aquarelle
Eng.: The Coming of the Tide at Cayeux, watercolour. Adhémar, nor Moffett, nor Berson give a suggestion. Berson refers to reviews of Lepelletier and de Lora (R90II,p8).

1IE-1874-75, La pêche, étude en pleine mer, aquarelle
Eng.: The fishing, study in the open sea, watercolour. Adhémar, nor Moffett, nor Berson give a suggestion. Berson refers to reviews of Lepelletier and de Lora (R90II,p8). 

1IE-1874-76, Golfe de Naples, aquarelle
Adhémar, nor Moffett, nor Berson give a suggestion. Berson refers to reviews of Lepelletier and de Lora (R90II,p8). 

1IE-1874-77, Le départ pour la pêche du hareng, aquarelle
Eng.: Leaving for the herring fishery, watercolour. Adhémar, Moffett and Berson refer to an oil painting Le départ pour la pêche à Berck, in the Musée de Valenciennes (R87,p239;R2,p121;R90II,p8).

1IE-1874-78, L’Escalier du château d’Aix en Savoie, eau-forte
Eng.: The Staircase of the Castle of Aix en Savoie, etching. Moffett refers to the Cabinet des Estampes. Berson is more precise: 1863, etch, 41×38, BNF (R90II,p8+23).

1IE-1874-79, César, portrait de chien, eau-forte
Eng.: César, portrait of a dog, etch. Adhémar, Moffett and Berson refer to a work in the Cabinet des Estampes, 1861, César, etch, 32×24, BNF (R87,p240;R2,p121;R90II,p8+23). It is an etch made after a work of Jadin.

1IE-1874-80, Jupiter, portrait de chien, eau-forte
Eng.: Jupiter, portrait of a dog, etch. Adhémar, Moffett and Berson refer to a work in the Cabinet des Estampes, 1861, Jupiter, etch, 35×26, BNF (R87,p240;R2,p121;R90II,p8+23). It is an etch made after a work of Jadin.

 

 

The second ‘impressionist’ exposition 1876:

  • catalogue numbers 102-137
  • no. 124 contained of 5 watercolours and no. 126 and 127 of two
    no. 135 contained of 2 frames with etchings, so at least of 4 etchings
  • in total  Lepic exhibited 45 works, of which 23 oil paintings, 15 watercolours, at least 7 etchings
    • 25x indication of place
    • 6x indication of time, season or weather
    • 4x a study
    • 1 loan (appartient à…): no. 134 M. Arsène Houssaye
  • Moffett only gives a suggestion for no.134 (R2,p162), Berson also for no.136+137 (R90II,p56+39/40).

Reviews:
L’audience
(1876/04/09) reviewed ‘M. Lepic presents a numerous collection of marine paintings, watercolours and etchings; this artist wanted to prove the flexibility of his talent and he did it in such a way as to conciliate the esteem of the most numerous amateurs, his large canvas: Forcé, deserves a special mention.’ (R90I,p53)
Emile Blémont (1876/04/09) reviewed ‘Mr. Lepic also has beautiful etchings, one of them depicts with originality the Ballade des pendus by Théodore de Banville; he also exhibits watercolours showing various aspects of Pompeii, remarkable seascapes and a large “Sanglier forcé par un temps de neige” (=Wild boar forces in snowy weather) (R90I,p63).
Simon Boubée (1876/04/05) reviewed ‘M. Lepic is also a moderate in the impressionist opposition. He also exhibits a number of truly remarkable paintings. His seascapes are of a beautiful sentiment, and his Wild Boar seems to us a work recommendable in all respects. (R90I,p64).
Louis Enault (1876/04/10) reviewed ‘On this list of intransigents, who will not, I imagine, submit their works to the jury that now operates at the Champs-Elysées, I find the name of an artist they have no right to claim as one of their own. M. le Comte Lepic can be a searching and daring painter; but he is not an intransigent; He has traditions that he does not deny, and for a long time he has appeared in our regular exhibitions with undeniable honour. His large study of wild boar is of rare vigour. Forced into his hole and ready to make a stand, the old loner is superb in his daring, courage and resolution. I feel sorry for the first bloodhounds who will try to cuff him. This one is really an intransigent, but not the artist who painted it. Oudry and Desportes would accept him as their successor. The laborious researcher has given no less than 35 pieces to the exhibition in the rue Lepelletier: paintings, watercolours, engravings, nothing is missing; – neither the variety nor the choice! One will notice especially the restorations of Pompeï, of a serious interest.’ (R90I,p83)
E.F. (1876/04/21) reviewed in the ‘Moniteur des arts’: ‘Count Lepic’s exhibition is very varied and interesting. His wild boar forces in the snow, his luminous and clear seascapes, his picturesque and heartfelt watercolours, his etchings of such rare power, everything calls for and holds the attention. The beaches of the Channel, the ruins of Pompeii, the cliffs of Le Tréport and the mysterious landscapes of Holland have never had a more moving and intelligent interpreter than M. Lepic. (R90I,p84).
G. d’Olby (1876/04/10) reviewed ‘Thus M. Lepic exhibits, for his part, an important batch of paintings and studies, which would be accepted everywhere, even at the official Exhibition, as serious works worthy of attention. Le Grand Sanglier forcé dans sa bauge (=The Great Boar forced into its crib) is painted in the most picturesque conditions. A member of the Institute would not find anything wrong with it, except that the drawing is perhaps a little too affirmative. Next to this painting of great decorative effect, M. Lepic has studies of the beach and the open sea, at different times of the day, of a very accurate feeling and of a truly salty taste. The effet de brouillard en mer gives an illusion; the sky and the water merge, without being confused, in a milky tone of a very fine harmony.’ (R90I,p99).
Emile Porcheron (1876/04/04) reviewed ‘M. Lepic has a whole series of marines which, from the point of view of colour, are not absolutely without merit, but what an arrangement! We have the wave (vague), the buoy (bouée); but the funniest thing is a composition that we will call The Pipe and the Mast (La pipe et le mât): on the left, a corner of the bow of a fishing boat, a pipe on the planking and two or three swallows on the end of the bowsprit, sky and sea in the background; and this is a picture!’ (R90I,p102)
Alex Pothey (1876/03/31) reviewed ‘Every year, Mr. Ludovic Lepic spends five or six months on a laying ship, where he learns about the life of the people at sea. The studies, made on the open sea, which he brings back from these excursions, have a very great character.We mention the Bouée rose, the Effet de soleil, the Beaupré and the Christ sur la plage de Berck. M. Lepic exhibited, in addition, a large hunting painting representing a strong Boar, in snowy weather, which comes to die in an undergrowth.’ (R90I,p104)
The review of Gustave Rivière (1876/04/13) was reprinted in the review of Pierre Dax (1876/05/01): M. Lepic has very beautiful etchings and a remarkable dog’s head by the process he has invented. (R90I,p71).

Catalogue 1876: (R2,p162/3;R90I,p49;iR1)

2IE-1876-102, L’Ile de Vachereu (clair de lune)
Eng.: The Island of Vachereu (moonlight). Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-103, Effet de brouillard en mer
Eng.: fog effect en the sea. Berson refers to the review of d’Olby (R90II,p39), who reviewed ‘the sky and the water merge, without being confused, in a milky tone‘ (R90I,p99).

2IE-1876-104, Étude de bateaux
Eng.: study of boats. Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-105, La plage de Berck
Eng.: the beach at Berck. Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-106, Le Christ de la plage de Berck
Eng.: The Christ of the beach at Berck. Berson refers to the review of Pothey (R90II,p39), who just mentions the work (R90I,p104).

2IE-1876-107, Bateaux de la baie de Somme
Eng.: Boats in the Bay of the Somme. Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-108, Un brisant (étude)
Eng.: a breaking / crushing (study). Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-109, La plage de Hourdel
Eng.: the beach at Hourdel. Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-110, Le beaupré
Eng.: bowsprit. Nl.: boegspriet. Berson refers to the review of Pothey and Porcheron (R90II,p39). Porcheron probably describes it as ‘on the left, a corner of the bow of a fishing boat, a pipe on the planking and two or three swallows on the end of the bowsprit, sky and sea in the background‘ (R90I,p102). Pothey just mentions the work (R90I,p104).

2IE-1876-111, Forcé !
Nl.: gedwongen. Berson refers to the reviews of L’Audience, Blémont, Boubée, Enault, E.F., d’Olby, Pothey (R90II,p39). Blémont and E.F. describe it as a ‘wild boar forces in snowy weather‘ (R90I,p63+84). Boubée also writes about a ‘wild boar’ (R90I,p64). Enault reviewed ‘His large study of wild boar is of rare vigour. Forced into his hole and ready to make a stand, the old loner is superb in his daring, courage and resolution. I feel sorry for the first bloodhounds who will try to cuff him.’ (R90I,p83). G. d’Olby also writes about ‘The Great Boar forced into its crib’, as if this was the full title (R90I,p99). Pothey describes it as ‘a large hunting painting representing a strong Boar, in snowy weather, which comes to die in an undergrowth.’ (R90I,p104)

2IE-1876-112, Bateaux de la plage de Berck
Eng.: boats at the beach of Berck. Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-113, La Bouée No 2, baie de Somme
Eng: the buoy. Berson refers to the review of Pothey  and Porcheron (R90II,p39), they just mention ‘La Bouée’, but Pothey adds ‘rose’.

2IE-1876-114, Clair de lune en mer (Manche)
Eng.: moonlight on the sea (Manche). Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-115, Effet de soleil (Manche)
Eng.: Effect of sunlight (Manche). Berson refers to the review of Pothey (R90II,p39), who just mentions the work (R90I,p104).

2IE-1876-116, La plage de Cayeux (effet de nuit)
Eng.: the beach at Cayeux (effect of the night). Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-117, Le halage d’un bateau
Eng.: boat towing. Nl.: sleepboot. Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-118, Un cabestan
Eng.: a capstan. Nl.: bandspanningsregelaar / kaapstander / gangspil. Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-119, Le voilier
Eng.: sailing ship. Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-120, Bateau à sec
Eng.: dry boat. Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-121, Le charpentier
Eng.: the carpenter.

2IE-1876-122, La plage
Eng.: the beach. Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-123, Le chantier de Cayeux
Eng.: the construction site. Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-124, Pompeï (5 aquarelles d’après nature)
5 watercolours of Pompeï. Berson refers to the review of Blémont and E.F. (R90II,p39). Blémont just mentions it (R90I,p63), Enault writes about the restorations of Pompeï’ (R90I,p83), E.F. writes about ‘ruines’ (R90I,p84).

2IE-1876-125, Le quai Sancte Lucia à Naples (aquarelle)
Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-126, Filets (2 aquarelles)
2 watercolours of nets. Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-127 , Barque échouée (baie de Somme) (2 aquarelles)
2 watercolours of stranded boats. Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-128, Falaises du Tréport (aquarelle)
Eng.: Cliffs at Tréport, watercolour. Berson refers to the review of E.F. (R90II,p39), who just mentions the work (R90I,p84).

2IE-1876-129, Soleil en mer
Eng.: sun on the sea. Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-130, L’église de Cayeux (aquarelle)
Eng.: the church at Cayeux, watercolour. Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-131, Barque Napolitaine (aquarelle)
Eng.: Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-132, Les souterrains du port de Naples (aquarelle)
Eng.: The undergrounds of the port of Naples (watercolour). Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-133, Fontaine à la Cava, prés de Naples (aquarelle)
Eng.: Fountain at Cava, near Naples (watercolour). Berson omits this work, which means there were no reviews (R90II,p39).

2IE-1876-134, La balade des pendus (eau forte) ; Appartient à M. Arsène Houssaye
Eng.: the walk of the hanging man. Moffett refers to the Cabinet des Estampes, Berson is more specific: 1869, 13×28, etch, BNF (R90II,p39+56). Berson refers to the review of Blémont (R90II,p39), who makes clear it represents a scene from a work by Théodore de Banville (R90I,p63).

2IE-1876-135, Croquis Hollandais (2 cadres eaux fortes)
Note: this number contains 2 frames with etchings depicting studies made in Holland. So it seems to contain at least 4 etchings. Berson refers to the review of E.F. (R90II,p39), who writes about ‘mysterious landscapes’ (R90I,p84).

2IE-1876-136, Canal en Hollande, lever de lune (eau forte)
Eng.: canal in Holland, rising of the moon (etch). Berson refers to the review of E.F. (R90II,p40+56). Berson suggests Vue des bords de l’Escaut: Lever de lune, etch, 46×82, Baltimore MA (R90II,p40).

2IE-1876-137, Tête de chien, épreuve tirée sur plaque sans gravure
Eng.: Head of a dog, print on plate without engraving. Berson suggests a monotype, 30×28, Baltimore MA (R90II,p40+56). Berson refers to the review of Rivière (R90II,p40), who doesn’t describe the work, but mentions that Lepic invented this procedure of working (R90I,p71).

 

 

Vicomte Ludovic Napoléon Lepic at the Salon:
The Salon database indicates that Lepic was born in Paris. From 1863-68 the address given is Palais du Louvre. From 1869+70 ‘chez M. Souty, rue du Louvre, 8’. In 1872- ‘chez M. Poignant, quai du Louvre, 18’. In 1873 ‘chez M. Carpentier, rue Halévy, 6’. From 1874+75 ‘rue de Larochefoucauld, 46’. 1876-83: Rue de Maubeuge, 25. 1884+85: cité Malesherbes, 5. 1886: ‘chez M. Mary, rue Captal, 26’. His teachers are Charles Verlat, le baron Wappers, Gleyre and 1874 onwards also of Cabanel. He exhibits ‘exempté’ in 1882-86. Lepic also exhibited in 1887 + 88. (iR1)

 

Overview:
in total  Lepic exhibited 64 works at the Salon, of which 11x watercolours, 1 gouache, 3x pastel, 7x etchings, 4 drawings and 2x decorative panel.

  • 26x indication of place
  • 7x indication of time, season or weather
  • 3x a study
  • 7x loan (appartient à…):

S1863-2688, Tête de chien, d’après une esquisse de Géricault ; eau forte

S1863-2689, Tête de chien courant de Vendée, d’après M. Jadin ; eau forte

S1863-2690, Pas commode ! d’après M. Jadin ; eau forte

S1864-2936, Etude de chien, d’après M. Jadin ; eau-forte
Additional info: (Voir à la Peinture)

S1865-1336, Le château de la misère (M. Théophile Gauthier, le capitaine Fracasse)

S1866-1211, Armurier du temps de Charles IX

S1867- 1900, Etude de forge ; dessin

S1868-1559, Pilier de halle

S1868-1560, L’auberge de Jean Stern, à Leyde
Additional info: (Voir aux Dessins, etc.)

S1868-3047, La pièce démontée ; dessin
Additional info: (Voir à la Peinture)

S1869-1504, Le roi des Landes

S1869-1505, Finis coronat opus

S1870-1736, *Le gué

S1870-1737, *Die Sieger, les vainqueurs ; chiens ayant la cocarde

S1870-3714, Le Destin ; dessin

S1870-3715, *Neuf dessins ; même numéro : Vues prises au bord de la mer à Puy (Seine-Inférieure)

S1870-5259, Griffon d’Ecosse portant sa chasse accrochée dans ses poils ; Gravure

S1870-5260, Neuf gravures à l’eau-forte ; même numéro : Vues de Hollande .

S1872-1006, Un philosophe sans le savoir

S1872-1007, Filets étendus ; aquarelle

S1873-942, Tentation

S1874-1185, Printemps
Additional info: (Appartient à Mme J. André)

S1874-1186, Le déluge ; triptyque (voir Dessins)

S1874-2317, Les fossés du château du Bailleul ; aquarelle

S1874-2318, Au bord de la forêt ; aquarelle

S1874-2319, A Cayeux (Somme) ; aquarelle

S1875-1345, Pêche de nuit au chien de mer

S1875-1346, Bateau boulonais
(Voir Dessins)

S1875-2497, Le port de Santa-Lucia (Naples) ; aquarelle
Additional info: Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences

S1875-2498, Le golfe de Naples, vu du cours Victor-Emmanuel ; aquarelle
Additional info: Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences

S1875-2499, Cabane de pêcheurs, à Torre del Greco (Italie) ; aquarelle
Additional info: (Voir Peinture). Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences

S1876-1297, Le quai de Bercy inondé, le 16 mars 1876

S1876-1298, Le calme dans la baie de Somme
Additional info: (Voir Gravure)

S1876-3903, Trois eaux-fortes : Paysages des bords de l’Escaut
Additional info: (Voir Peinture)

S1877-1329, Bateau cassé
Receives a ‘médaille de 3e classe’ (iR4)

S1877-1330, Tempête .
Eng.: Stormy weather.

S1878-1415, Le départ ; marée haute

S1878-1416, Le retour ; marée basse
Additional info: (Voir Dessins)

S1878-3337, Un chien ; pastel

S1878-3338, Moïse sur le Nil ; … Et le voile du temple se déchira !… Le semeur d’ivraie ; gouaches
Additional info: (Voir Peinture)

S1879-1898, La pêche au hareng d’Ecosse par les bateaux de Berck .

S1879-1899, La Vierge de Grosfliers, à Berck (Pas-de-Calais)

SdAF-1880- 2288, La banquise de la Loire, à Saumur ; janvier 1880 ;
Additional info: H. 2m,30.- L. 3m,20.

SdAF-1880- 2289, Le retour ;
Additional info: H. 2m,00.L. 2m,60. Le cercueil du Prince Impérial est transbordé de l’Orente à l’Enchanteresse. Portsmouth, 11 juillet 1879.

SdAF-1880- 5219, Marquise ; pastel ;
Additional info: Appartient à Mme de Pont-Jest.

SdAF-1880- 5220, Madou ; pastel ;
Additional info: Appartient à M. Febvre, de la Comédie-Française

SdAF-1881-1425, Alerte ; Berck, octobre 1879

SdAF-1881-1426, Plage de Berck ; panneau décoratif ;
Additional info: Appartient à Mme la comtesse X***

SdAF-1882- 1650, Mer calme devant Boulogne ;
Additional info: Appartient à M. Millot ; voir n° 1651

SdAF-1882- 1651, Effet de brouillard dans les mers du Nord ;
Additional info: Appartient à M. Millot ; voir n° 1650

SdAF-1883- 1491, L’inondation de la Seine, à Chatou en 1883

SdAF-1883- 1492, Sortie des bateaux à la marée ; Berck .

SdAF-1884-1505, Le “Vaisseau fantôme,” ou le “Voltigeur Hollandais

SdAF-1884-1506, Combat d’Ouessant ; 1778
Additional info: Le comte du Chaffault, monté sur la Couronne et commandant l’avant-garde, triomphe du Victory et du Terrible. Son fils fut tué près de lui et lui-même grièvement blessé.

SdAF-1885- 1559, *La rentrée du pilote

SdAF-1885- 1560, *”Pare à virer !”

SdAF-1886- 1460, Bateaux normands ;
Additional info: (Appartient à M. Quévremont)

SdAF-1886- 3067, Canal, près Rotterdam ; aquarelle ;
Additional info: (Appartient à M. G. Vibert)

SdAF-1886-3068, Barque de Boulogne ; aquarelle

SdAF-1887- 1490, La plage de Berck ; panneau décoratif ;
(Appartient à M. Paul Blanchet) ; Peinture

SdAF-1887- 3166, La bouée ; nord de Cayeux ;
(Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences). Eng.: The buoy, north of Cayeux.

SdAF-1887- 3167, Chrysanthèmes ;
(Dessins, cartons, aquarelles, pastels, miniatures, vitraux, émaux, porcelaines, faïences)

SdAF-1888- 1608, Les reines du château et du village de Cressol, à Saint-Peray (Ardèche) ; (Appartient à Mme la duchesse d’Uzès)

SdAF-1888- 3285, Cayeux vu d’un bateau ; aquarelle

SdAF-1888- 3286, Soleil sur la mer du Nord ; aquarelle

 

 

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